Bob Sinclar – I I I

Bob Sinclar – I I I



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Bob Sinclair é o nome artístico de Christophe Le Friant, o pioneiro do House francês. É também o responsável pela grande mudança de direcção musical deste seu terceiro álbum intitulado simplesmente de “ III “. “ III “ é, segundo Sinclair, definitivamente o número mágico. Recordando o ano de 2001, Sinclair lembra a produção de alguns dos temas inéditos de Cerrone com ligeiras remixes que evocavam os grandes sucessos franceses do som Disco dos anos 70 e que teve a sua apresentação no “ VIP Rooms” no Champs Elysees, onde por acaso se encontravam o cantor-escritor norte americano Lene Lovich que já tinha anteriormente adaptado letras de Cerrone a algumas músicas que foram sucessos e Alain Wisniak, que também escreveu e compôs alguns clássicos de Cerrone como o conhecido “ Give Me Love” e “ Supernature”, presenças que marcaram Sinclair e lhe deram o pontapé de saída deste seu terceiro álbum. Começou então a trabalhar de perto com Lovich e Wisniak e deste trabalho resultou “ III “, um álbum que partiu dos originais sons do Disco e que foi completamente modificado num estilo moderno e diferente, ele não queria apenas reciclar temas antigos mas fazer deles algo original com uma vista sobre o futuro, criando um som Disco electrónico. O álbum foi gravado no estúdio de Sinclair em Paris com algumas passagens por Nova Iorque e conta com treze temas. O videoclip também não passa despercebido, tem a participação de Jean Claude Van Damme que aparece numa cena sensual, onde dança Tango com duas modelos. No final, Sinclair mostra-se contente com o resultado: “ I’m happy to be myself, and I’m happy with III, it’s sweaty, it’s a dance, it’s dark but it isn’t sad, in short, then, just how it should be. ——————————— ‘The international man of mystery was fun for one or two records. I’ve had fun, now I want to be myself.’ Bob Sinclar, French house pioneer, chart cruise missile and owner of the impeccable Afro-Gallic indie, Yellow, claims that his change of direction is ‘not a revolution’. Anyone who hears his third album, simply titled III, however, is likely to suspect more than a superficial change. They’d be right: III is a full-blooded, melody-drenched killer, bridging the space between the dancefloor and the FM waves with ease, where the old school of Cerrone and disco and gay New York runs headfirst into electronics and samplers and the hard, harsh daylight of 2003. You’ll still find the populist dancefloor disco that made Paradise (1998) and Champs Elysees (2000) so successful, but there’s more too. ‘I didn’t want too much 1980’s’ says Sinclar, real name Chris ‘The French Kiss’ and real real name Christophe Le Friant. ‘I didn’t want too much live bass or live drums. I wanted to take the old colour and play everything with keyboards – which is just what Metro Area do.’ III is clearly the magic number. Back in 2001, Sinclar released Cerrone a selection of original tracks and light-touch remixes from the influential and hugely successful French 70’s disco band. To promote the release, there was a launch party at the crash-palace splendour of the VIP Rooms on the Champs Elysee. American-born singer and writer Lene Lovich, who had adapted Cerrone’s lyrics before having a New Wave hit in 1978 with ‘I Think We’re Alone Now’, and Alain Wisniak, who wrote and composed Cerrone classics ‘Give Me Love’ and ‘Supernature’ were both there, a fortuitous meeting which kickstarted Sinclar’s third album. ‘I was really honoured and impressed by them,’ says Sinclar. ‘I rang them afterwards, just to know how their lives were during this period, and to ask them how they made the music.’ The conversations which followed led directly to a central aspect of III. Eschewing samples, Sinclar took the methods and intentions of original disco, and replayed it, one hundred percent modernist style. ‘I didn’t want to recyle the old classics, but I wanted something original with a view into the future. It was not to be cold or new wave – it’s a new electronic disco sound.’ Sinclar worked closely with Wisniak and Lovich on III. They recorded it over eight months last year, with Lovitch writing recent chart hit ‘The Beat Goes On’ and second single ‘Kiss My Eyes’. ‘She’s a ghost for me,’ says Sinclar passionately. ‘She has an amazing way to write, and ‘Kiss My Eyes’ is the most beautiful song I’ve ever made. It gives me chair de poule every time I hear it.’ For those without a French dictionary handy, he means goosebumps. The video might also cause some, ahem, frisson: It has Jean Claude Van Damme dancing tango with two models, a la Christopher Walken’s wall-walking cameo for Fatboy Slim. The album was recorded at Sinclar’s Parisien studio, apart from a brief sojourn to New York. ’Who Needs Sleep Tonight’ was inspired by Silicon Soul’s 1981 dance hit of the same name. Sinclar wanted to sample the record, but when he contacted band members O.Zone and Jolly III in their home town of New York, he found that they no longer had the original parts. So he flew over, and rolled up at their West Broadway flat and re-recorded it. ‘It was special and exciting to be with them while they re-created such a cool song,’ says Sinclar, who then added the Grace-Jones-meets-Edith Piaff vocals of a local Paris singer. ‘If I Was’ is an album highlight, fusing the idea of Laiback’s menacing drug anthem ‘White Horse’ with Sexual Harrasment’s disco classic ‘If I Gave You A Party.’ It rolls out jagged acid-house 303 lines under breathy girl-group vocals pouting ‘make it hot’ like sex incarnate. It also features Sinclar on vocals (‘I had to loose a lot of complex to stand in front of the mic,’ he says. ‘I sing like shit. But we have Popstars in France too, and now it is clear that anything is possible.’) ‘If I Was’ is reminiscent of the sleazy sparse melodic house of Lil Louis – if he was making music right now, in the coolest New York sound factory on earth. Then there’s second single, ‘Kiss My Eyes’, an eastern European tango peppered with accordion and a pounding, late 80’s new beat bassline. ‘La Musique Is Fantastic’ is the sound of a film where the louche heroine is in her apartment, taking calls from outer space. ‘Nature Boy’ is cinematic, and sweeping, like an updated Jan Hammer Theme, and ‘Beat The Clock’ harks back to Sinclar’s hip hop roots, all beats and wiki wiki scratching. It was hip hop that first gave Sinclar chair de poule. ‘I was so into the hip hop explosion. Tribe Called Quest, Jungle Brothers, De La Soul, Gangstarr,’ he says. ‘It was a way of life and I loved – loved!- discovering the manipulation of vinyl.’ He started DJing in his Le Marais bedroom in 1988, and soon became obsessed by acid jazz. ‘We were upfront, invading Paris with this scene,’ he remembers. ‘It was the whole reason we started Yellow Records. It was the first time anyone had joined hip hop beats with live music and we wanted to do the same.’ It’s a passion that continues to filter through Yellow. The Africanism series which stormed afro-tinged house gems like ‘Bisou Sucre’ into record boxes worldwide (Kenny Dope and Louie Vega hardly stopped playing it) is about to be repeated. ‘I’m working on new tracks,’ he says. ‘It’s a really special project to me.’ Sinclar is happy. ‘I’m happy to be myself, and I’m happy with III,’ he says. ‘It’s sweaty, it’s a dance, it’s dark but it isn’t sad.’ In short, then, just how it should be.

01. The Beat Goes On
02. Kiss My Eyes
03. If I Was
04. La Music Is Fantastique
05. Nature Boy
06. Who Needs Sleep Tonight
07. Sexy Dancer
08. I’m Not Perfect
09. Do It
10. Métro Blanche
11. Beat The Clock
12. Europa
13. So High

Peso 120 g

Bob Sinclar





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